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LENA RIVERS 

By MARIE DORAN 

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Neii* Copyrighted Version. This well-known Irish favor- 
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Fitzgerald Publishing Corporation 

Sucit'Sior to 
DICK & FITZGERALD 

l8-Vesey Street, New York 



HER VICTORY 

Comedy in One Act 



By 

ELEANOR MAUD CRANE 

Author of ''Just for Fun," "Men, Maids and Maich?nakers," 
"Pair of Idiots," "A Regular Flirt," ''When a Mans 
Single," "Next Door," "Little Savage,'' "Billy's Bunga- 
low," "Rainbow Kimona," "Peggy s Predicament," "In 
the Ferry House," ''Ye Village Skewl of Long Ago," 
"Bachelor Maids' Reunion," "Fiai in a Farm 
House," "Fads and Fa?icies," etc. 



Copyright, 1920, by 
Eleanor Maud Crane 



^ 



Fitzgerald Publishing Corporation 

Successor to 

Dick & Fitzgerald 

18 Vesey Street New York 










©CI.0 55 019 
JUL I4I92C 



Her Victory 



CHARACTERS 

(In the order of their appearance) 

May Parker Sculptor 

Frances Morgan Illustrator 

Mrs. Finnigan From fair Erin 

Hazel Reid Dancer 

Frederika Brent Mural artist 

Betty Wilson Autlioress 

Peggy Lawrence Violinist 

Ruth Wheeler Cartoonist 

Eloise Taylor Pianist 

Vera Davenport Designer 

Jean Webster Fashion artist 

Grace Foster Interior decorator 

Laura Jackson Maid of all ivork of the Sunny South 

Victory Johnson Laura's shadow 

JosiE Murray Scenic artist 

Nanette Lyle In the "Movies" 

Elizabeth Woods ^^* critic 

Note.— This sketch is so arranged that the number of 
characters may be cut to accommodate a small cast or in- 
creased to permit the introduction of specialties, local 
hits, or native talent. Parts may be doubled if desired. 
It may be played with or without tableaux. 

Time. — The present. 

Locality. — Studio, Washington Square. 

Time op Playing, — One hour. 

3 



4 Her Victory 

COSTUMES 

May Parker, studio apron or smock over pretty house 
dress. 

Frances Morgan, modern street suit, hat, gloves. 

Mrs. Finnigan, exaggerated or eccentric costume, ex- 
treme of present style. 

Laura Jackson, attempt at fine artistic dress. Bright 
colors, rather startling in effect. 

Victory Johnson, kinky wig, plaid dress, apron. 

ToPSY, wig of kinky hair. 
. The other characters should wear costumes in the 
present prevailing style, although it is necessary for one 
of the girls to wear a mannish-looking hat and another 
is to wear a large cape. 

INCIDENTAL PROPERTIES 

Plaster east upon which May is working. Clay for 
May and Laura. A sketch-book containing several pic- 
tures for Frances. Fan for Ruth. Check for Josie. 
A hand-bag and a typewriter for Hazel. 

Note. — A square wooden box with a waterproof cover 
of a typewriter drawn over it will give the effect of a 
typewriter and be easier to handle than the machine it- 
self. 

STAGE DIRECTIONS 

As seen by a performer on the stage facing the audi- 
ence, R. means right hand; l., left hand; c, center of 
stage; u. L., up left; d. r., door at right; d. l., door at 
left ; UP, toward back of stage ; down, toward footlights. 



Her Victory 



SCENE. — Studio in Wasliington Square. Door at r. 
and a door u. l. Key in d. l. Unmounted charcoal 
and water-color sketches decorate the walls. A 
plaster J)ust, a bronze statue and two or three clay 
casts give a good effect. An easel with a drawing- 
hoard, paper and a piece of charcoal is in the hack- 
ground. A shelf with a few well chosen or7iaments, 
among them a blue vase containing money, is down 
L. . A low table containing tea-things and a fan 
DOWN R. A rather high table on which stands a 
plaster cast that May is touching up, is down l. 
Also some clay near table. A few bits of drapery, 
a chiffo7i scarf or two in soft pastel shades are thrown 
over the back of the easel and couch, and several 
cliairs help to furnish the studio. A scrap basket 
is at the side of the couch. A tightly folded um- 
brella is also standing in some corner of the room. 
DISCOVERED May Parker in modelling apron, 
working feverishly upon an unfinished plaster cast. 
Suddenly she drops into a chair, tired and discour- 
aged. 

ENTER Frances Morgan d. r., sketch-hook tinder her 
arm; she does not see May. Prances pidls off her 
gloves angrily, throws book upon the couch, opens 
it, takes out a picture, holds it at arm's length a 
second, then crushes the picture in her hands and 
tosses it info the scrap basket. Slie is about to 
destroy a second sketch. 
5 



6 



Her Victory 



May {springs up and catches Frances' arm) . Frances 
Morgan, Avhat on earth are you doing? 

Frances {in surprise). Maj^ how you startled me! 

May {taking sketch from basket and holding it up). 
Frances, what does this mean? 

Frances {taking off her hat and jabbing her hat-pin 
into it savagely). Oh, May, what's the use? "What is 
the use of it all? 

May {her hand on Frances' shoulder as Fan siiiks 
into chair). Don't, Fan, you mustn't get discouraged 
now. Was it so awfully hard? 

Fan {bitterly). Oh, not at all. It was the shortest 
interview I ever had. It didn't last two minutes. 

May {surprised). But you've been gone over two 
hours. 

Fan. That 's how long he kept me waiting. I had an 
appointment, you see, so I was only kept waiting two 
hours. 

May {leaning forward eagerly). But you did see 
him ? 

Fan {nodding). Yes, for exactly tAvo minutes. 

May {catching up sketch). And he saw your work? 

Fan {looks over May's shoulder at sketch). Yes, and 
that was all he did see. The work. Too much detail. 
Not enough left to the imagination, 
should suggest more than it reveals, 
be all suggestion. 

May {studies sketch admiringly). 
so fine, so sincere. You hold a mirror up to nature. 

Fan {shakes her head). Wrong, May, all wrong. 
Art should suggest. The eye of the beholder supplies 
the rest. Don't you understand? 

May. No, I can't say that I do. 

Fan {goes to easel and catches up bit of cMrcoal. 
She draws a curved line upon the paper on drawing- 
hoard then turns to May), Let me illustrate. I draw a 
line so. What do you see? 

May {studies the line a second, her head on one side). 
I see a curved line- 



A picture to-day 
In fact it should 

But your work is 



Her Victory 7 

Fan {in disappoinied tones). Is that all? 

May. Yes. What else is there for me to see ? 

Fan {gesticulating as she speaks). A tree swaying in 
the breeze. A storm is gathering. The clouds lower. 
Tlie thunder roars. The tempest breaks. The picture 
is called ' ' Revelation. ' ' 

May (looks at Fan, then at picture, puzzled). But 
what is revealed ? 

Fan {impatiently). The soul of Art. True Art. 
Wait, I'll give you another chance. {Draws an irregular 
oval wiih a sweep of the charcoal) Behold, what seest 
thou? 

May {tragically). The writhing of a heart in agony. 
Tei'ror sweeps over her. She is crushed to earth. But 
lo, she rises triumphant. The picture is called "Re- 
generation." 

Fan {looks from May to easel in surprise) . May, do 
you really see all that ? 

May {nods serenely) . Of course I do. 

Fan {looks over May's shoulder and tries to get her 
view-point ) . Where ? 

May {points to easel). There. 

Fan {thoughtfully). Then he was right. There is 
something in it. 

May. Wasn't that Avhat you expected me to see ? 

Fan, Not exactly. But if my pencil can inspire you 
to such heights, Avho knows to what dizzy altitudes we 
may attain? Why waste hom^s in a vain attempt to 
reproduce nature Avhen a stroke of the pencil accom- 
plishes such miracles as that. {Points to easel) Oh, 
Art, what crimes are committed in thy name. 

May {gathers up sketches). Well, you are not going 
to commit the crime of destroying these. {As Fan tries 
to take them from her) Unhand me, woman. {As Fan 
succeeds in gaining possession of sketches) Fan, please 
let me have them. I think them beautiful and I want 
them, if you don't. 

Fan {looks at sketclies and hesitates). But the great- 
est critic of our age has condemned them. 



8 Her Victory 

May {iviih contempt). Critic? Don't talk to me 
about critic unless you want to hear me sputter. You 
know my opinion of them. 

Fan {setting out tea things). How's the statue com- 
ing on? 

May. What statue? 

Fan. What statue? Why, the statue for the fountain, 
of course. 

May {scats herself in dismay). Fan, I can't do it. 

Fan. Nonsense. You've got to do it. 

May. I can't. Not without a model. 

Fan {rises laughingly). Is that all? What al)0ut 
me? I just guess I can pose. How's this? {Stands 
with foot extended and one hand raised above her head) 

May {laughs). Fine. What do you call it? 

Fan. The Marseillaise crossing the Rhine or the 
Vengeful Vamp. {Drops pose and speaks seriously) 
But really, May, you waste inore time. 

Ma\\ I know it but what can I do? I've tried and 
tried but I can't go on. I've come to the place where 
I must have a model and I can't afford to engage one. 

Fan {looks toward vase on shelf). There's the blue 
vase. 

May {quickly). No, Fan, we solemnly vowed never 
to touch that vase money. 

Fan {slowly). I know we did, but 

May {firmly). There are no buts about it. That 
money is to be saved until we have enough to buy a type- 
writer for Betty. No editor will read a stoiy to-day un- 
less it is typed and Betty must have this chance, for that 
girl certainly can write. 

Fan. So can you sculpt. Don't you see, May, if you 
take that money now and hire a real model to poso for 
the statue for your fountain, why, at the spring exhibi- 
tion, wlien your orders begin to come in, you can buy the 
typewriter for Betty and^here you are. 

May {shakes her head). And suppose the orders do 
not come in ? 

Fan {takes down vase). How much have we saved? 



Her Victory 9 

May {takes vase from Fan and replaces it upon shelf) . 
No, Fan, I shan't touch one cent of that and you mustn't 
either. 

Fan. I don't see why not. Betty knows absolutely 
nothing of our plans for her so she wouldn't be dis- 
appointed. 

ENTER Mrs. Finnigan d. r. 

Mrs. Finnigan {looks about curiously). Is this the 
studio? 

Fan {turns to her in surprise). Yes, but how did 
you get in here 1 

Mrs. F. Sure an' Oi walked in. Are you the artist 
loidy? 

Fan. We are both artists. Miss Parker is a sculptor 
and I paint. 

Mrs. F. {looks at Fan admiringlji) . You do it 
moighty well. Begorrah, if ye hadn't told me Oi'd 
niver have guessed it. {To May) You're the wan Oi 
want ter see. Oi'm thinkin' of havin' a bust made off 
me husband. 

May. You mean you want me to model your husband ? 

Mrs. F. Well, Pat niver wuz no model. He wuz — 
{With a sigh) jist a mon. 

May. I wonder if you wouldn't like a l)as-relief ? 

Mrs. F. {nods and smiles). Now I'll jist lave tliot to 
you. {With a hurst of confidence) You see, it avuz this 
way. Mrs. O'Connor, her thot has the flat jist over me, 
lost her Mike with the flu last month an', would you 
belave it, she's got him condinsed, in a urn, on the mantel 
pace in her parlor. Ivery toime I call on her she rams 
thot urn down me throat. I jist can't stand her airs an- 
other day. I buried me Pat two years ago this Easter 
an' Oi haven't the heart to dig him up. Pat always 
hated so to be jigged about, the saints preserve his sowl ! 
An' so Oi thought an' Oi thought, an' last night it come 
to me thot if Oi had a bust off Pat on me pianny, why 
thot O'Connor woman would be took down a peg. An' 
thot's why Oi've come to you. 



10 Her Victory 

Fan (doubling up witli laughter behind Mrs. F.'s 
back). But you say your husband is dead. 

Mrs. F. Sure. (Proudly) You ought to see the 
gran' stone Oi put up for him. "Rest in Pace" at the 
top and "Till we meet again" at the bottom. 

May. But if your husband is no longer living how 
can he sit for me? Have you a picture of him that I 
could copy? 

Mrs. F. (Iaughi7ig at the thought). A picture of 
Pat. The saints preserve us. Pat would niver sit for 
no picture. He always said it was bad luck. 

May. But, madam, how can I make a bas-relief of a 
man I never saw ? 

Mrs. F. (impatiently). Didn't you make thot statoo 
of Moses down to the Museeum ? 

May (nods). Why, yes, I did do that sometime ago. 

Mrs. F. An ' did you iver see Moses ? 

May (laughing). No, I can't say I ever had the 
pleasure. 

Mrs. F. (with sarcasm) . Thin Oi suppose you had a 
photygraph of him to go by? 

May (shakes her head). No, none whatever. 

Mrs. F. (triumphantly). Thin if ye did Moses who 
died skillions of years ago, why can't ye do me Pat? 

Fan. She's got you this time, May. 

May (to Mrs. F.). But this is different. Your 
friends knew your husband and what he looked like. 

Mrs. F. (nods slyly). Ah, ha, so thot's it, is it? An' 
jist because poor Moses didn't have no friends, you took 
advantage of him. I always thought there wuz a lot of 
hocus-pocus about this here Art business. (Indig- 
nantly) Now, young lady, I'm a-going to show you up. 
You'll do me husband or Oi'll have ye arristcd for an 
impositor. You kin take your choice. (Folds arms and 
stands off to ivaich the effect of her words) 

Fan (seats herself and studies the two ivith interest). 
I beiievo slie has a detectiv6 waiting outside. Better sur- 
render, ]\Iay. 

May (to Mrs. F.). But, my good woman, you don't 



Her Victory 11 

understand. I had in my mind an ideal and when I 
designed my statue of Moses, I simply carried out that 
ideal. 

Mrs. F. (shakes her head grimly). The Bible says 
plain out, that you shouldn't make no idols nor any 
gravy images. I don't see how you folks git around 
that. {Turns to Fan) Thot's why Oi hesitated about 
me Pat, just at first, you know. Till Oi saw thot 'Con- 
nor woman's urn. Thot sittled it. Gravy images or no 
gravy images, Oi'll have a bust of Pat. {Turns to May 
and opens her hag) How much did you say it would 
cost? 

May {frowning). I didn't say. In fact, I can't see 
my way clear to fill your order at all, with absolutely 
nothing to go by. 

Mrs. F. {pats May's shoidder reassuringly). Now 
darlint, don't you worry. Oi'll give you the go-bys all 
right. You follow what Oi till you an' you can't miss 
Pat. 

May (hesitates). Were you considering bronze or 
marble? 

Mrs. F. Whiehiver's the most stylish. Oi'm all for 
style ivery toime. Say, Oi saw a foine figger down to 
the five an' ten last week thot wuz terrible classy. All 
white stuff. You know the kind. 

May. But that was only plaster. 

Mrs. F. It said "Choppin" on it. Oi thought it 
pretty slick. Wait, Oi'll fetch it here an' you kin jist 
touch it up a bit. Make the nose bigger, an square off 
the chin an' put a poipe in his mouth an', begorrah, it 
will pass for Pat hisself. You wait here. Oi'll be roight 
back. Oi'll git even with thot O'Connor woman yet. 

[EXIT D. R. 

May (goes to door and calls after her). Wait. Wait 
a minute. (A door slams off) 

Fan (doubles up ivitli laughter). Oh, May, May. 
That's the funniest thing I ever heard of. A bust of 
Chopin from the ten-cent store to be remodelled into 
Pat, 



12 Her Victory 

ENTER HA2EL Reid d. r. 

Hazel (rushes in, all excitement). Oh, girls, girls, 
what do you think? The loveliest thing. I'm so happy. 
I'm so happy. Mrs. Woods is going to give a ball. A 
real ball and all the big artists are going to be there and 
Mr. Clemmons, he's that big millionaire from the South, 
has offered a prize of a thousand dollars for the best in- 
terpretation of "Victory." And we are all invited, 
everybody, every artist, that is, and it's to be in two 
weeks and — isn't it lovely? Isn't it glorious? And 
what am I going to wear ? 

May {her hand on Hazel's shoulder). Wait a min- 
ute. Hazel, wait a minute. Now, what on earth are you 
talking about? 

Fan (as Hazel, cjasjjs for breath) . Put on the brakes, 
Hazel, and go slowly down hill. 

Hazel. I can't go slowly. (Dances about studio) 
I am Avild, simply Avild about this. (Stops ahruptly be- 
fore May) But you haven't answered my question. 
What am I going to wear? 

May (looking puzzled). To wear? You? 

Hazel (impatiently). Yes, yes, to wear. Me. I, 
Myself. My dear May, wake up. It's to be a ball. A 
wonderful, glorious ball, and every one is to be in cos- 
tume. And what am I going to wear? 

Fan (coming forward). Did you say a prize was to 
be offered? 

Hazel. Yes, a thousand dollars. 

May. For the best costume? 

Hazel (shakes her head emphatically). No, no, no. 
For the best interpretation of Victory. 

Fan (shaking her head at May). But we can't all go 
impersonating * ' Victory. ' ' 

Hazel (with a sigh). You don 't have to. Yo^i draw, 
or sculp, or paint your idea of "Victory" and the best 
design wins the prize. 

Fan (sifs near Hazel and leans forward eagerly). 
What form must the design take? 



Her Victory 13 

Hazel. Any form. Any old thing that the title 
"Victory" can be applied to. But you don't seem to 
grasp the main, the most important, the most interesting 
part of it all. This is to be a costume party and what 
am / going to wear ? 

May {to Hazel). What difference docs it make ivhat 
you wear? (To Fan) Oh, Fan, I]an, do you suppose 
this dream can possibly come true 1 

Hazel {indignantly to FAi>i). What difference? She 
asks what difference does it make what I wear. {To 
May, with a toss of her head) I suppose it would make 
no difference to you if I didn't wear anything at 
all. 

Fan (^oMay). She must be mistaken. I'll see Mrs. 
Woods and find out. {Door heard slamming off r.) 

Hazel. You needn't. Here comes Frederika. She 
was at the meeting. I'll call her. (Goes to d. r.) 
Freddie, in here. We're in here. {To May) Now 
you'll see. (ENTER Frederika d. r.) Isn't it fine? 
Isn't it wonderful? Have you planned your costume? 
Can J ou help me out ? 

Freddie {to May a7id Fan). Has Hazel told you? 
Isn 't it perfectly splendid ? 

Fan {helping Freddie off with her wraps) . We can't 
make head nor tail out of it. Just one wild jumble of 
ball, and prize, and Victory, and what is Hazel going to 
wear? That's the only thing that stands out clearly. 

Freddie {taking off her gloves and seating herself). 
Give me a cup of tea and I'll tell you all about it, al- 
though I'm so excited I don't know whether I can ex- 
plain or not. It was Mrs. Woods' idea. That woman's 
an angel. Mr. Clemmons wanted to do something in 
memory of Frank, his son, you know ? 

May {ivho has seated herself at low table and is mak- 
ing tea). Yes, I remember, he was killed in France. 

Freddie. That boy w^ould have done something big if 
he had lived. He had it in him. Well, his father wants 
to erect a fitting memorial. Something different. I^n- 
usual. So Mrs. Woods suggested his offering this prize 



14 Her Victory 

for the best interpretation of ''Victory." The result to 
be dedicated to Frank. 

May (eagerly). And can any one — any one at all 
compete 1 

Freddie (helping herself to cake). Any one at all. 

Hazel (helping herself to the cake Freddie has 
chosen). But you haven't told them about the ball. 

Freddie. The ball? Oh, yes, I forgot. It's simply 
to bring the competitors together. Did they decide to 
have it a costume affair, Hazel? 

Hazel (excitedly) . I should say they did. And these 
girls (Indicates May and Fan as she addresses herself 
to Freddie) won't help me out a bit and I haven't a 
single blessed piece of a dress that will do. 

ENTER Betty Wilson excitedly d. r. 

Betty. Oh, girls, have you heard the news? (Catches 
sight of Hazel) Oh, Hazel, you here, (To girls) 
Then of course you know all about everything and have 
decided what she is to wear. 

May (flourishes teapot) . Have some tea? 

Betty (seats herself and holds out cut)). Yes in- 
deed, I'm simply starving. Pass the cakes, Hazel. 

Hazel. I'm sick of all this nonsense 

And the way you do not care : 
The nicest thing about a ball 

Is the dress you're going to wear. 

Fan (sipping tea). If somebody doesn't put Hazel 
out I'll resign. 

Hazel (sticks out the tip of her tongue at Fan). 
Hazel is already put out, very much put out by the in- 
difference of those she once considered her friends. 

Betty. A true ' friend. Hazel, is one who tells you 
3'our faults. 

Hazel (rises). Then deliver me from true friends. 
I know all my faults, thank you, and I don't care to be 
told about them, (To Freddie) Are you going to the 
ball, Frederika? 



Her Victory ]!» 

Freddie (stirs lier tea ihougliifully) . Yes, I think so. 

Hazel, {rolls her eyes to ceiling in despair). She 
thinks so. A real live ball, the first this season, and she 
thinks so. What are you going to wear? 

May (to Freddie; . But I don't see how we can have 
anything ready in two weeks. I work quicKly, but two 
weeks — that's impossible. 

Freddie. Mr. Clemmons says that genius is inspira- 
tion. He doesn't expect completed work. It's the idea 
he is seeKing. A theme, the outline of a story 

Betty. The synopsis, you mean. 

Freddie (nods). That's just what I do mean. He 
doesn't care what form the inspiration takes or how 
crude the work is. 

Fan. But suppose the creator cannot develop the 
theme afterwards? 

Betty. Mr. Clemmons will have it developed for him. 
It is originality he is seeking and he does not believe in 
wasting time on unimportant details. 

Hazel (comes forward eagerly). That's my idea ex- 
actly. Here we are Avasting valuable time tnat should 
be spent planning our costumes. 

Fan (slips up behind Hazel, pins her arms behind 
her, ties them securely with her handkerchief and then 
holds out her hand to May) Your handkerchief, May, 
just a minute. (Ties May's handkerchief over Hazel's 
mouth) Now, young lady, have j^ou anything to sny 
before the sentence is pronounced 1 ( vViihout giving 
Hazel time to speak) No, then you are condemned to 
wait in here while we adjourn to Frederika's studio just 
across the hall for a new kind of salad that she has just 
invented. At the end of ten minutes, if you have suf- 
ficiently repented, you may join us. (Fan leads Hazel, 
who is too surprised to object, to d. l., supposedly a 
closet, and opens door, pushes her in and closes door, 
locks it and puts key in her pocket) 

Freddie (to Fan) . AVho told you about my salad? 

Fan (laughs). A little bird. 



16 Her Victory 

ENTER Peggy Lawrence, Euth Wheeler, Vera 
Davenport and Eloise Taylor d. r. 

Eloise {laughing and talcing plate of cakes from 
May). You mean things. Why didn 't you wait f or us ? 
I'm simply starving. 

Hut H. {taking off her hat). Hello, everybody. Where's 
Beiiy? {jlU the girls remove their ivraps) 

Fan. Right by the tea table. 

Peggy {springing upon a chair). Hear ye, hear ye, 
all ye good people. A miracle has happened. We are 
to have a chance. Can you believe it? A real live 
chance to show what we can do. j\Irs. Woods is going to 
give a ball in her studio. 

May. Yes, yes, we know all about it. Are you going 
to compete ? 

Peggy. Am I? Just you wait. I am working out 
the most wonderful theme. This thing has just inspired 
me. I feel as if I could do anything. 

Eloise. So do I. I know I shan't sleep for a week. 
All sorts of ideas are just sizzling. I could hardly sit 
through the show this afternoon. 

Freddie. Was it a good one? m 

Eloise. Fine. I thought the one word act especially ■ 
clever. 

May. What on earth do you call a one Avord act ? 

Ruth. Haven't you ever seen one? There are just 
two characters and they have a little play between them, 
each speaking one word at a time. 

Betty. But I don't understand. You can't have a 
play Avith just one word. 

Peggy. Yes you can. It's great. Come on, Ruth, 
let 's show them how it was done. 

Ruth {shaking her head). I can't. I don't remem- 
ber how it went. 

Peggy. Yes, you do. Here, I'll be the man. {Looks 
about) Where's my hat? Fine. {As Fan gives her a 
rather mannish looking hat one of the girls has u'orn in) 
Now for a coat. This cape will be just the thing. 



Her Victory 17 

{Catches up cape one of the girls has thrown over chair- 
hack) Got a cane, anybody? (May gives her a tightly 
folded umbrella) Thanks. Come, Ruth, take this fan. 
(Gives Ruth fan from table) 

Ruth {drawing back). I tell you, Peggy, I don't re- 
member a word of it. 

Peggy. Nonsense, I 'II prompt you. Sit here. {Places 
chair c. for Ruth. The girls draw hack and watch) 
Now I enter. (Goes to d. r., turns, and comes down. 
Catches sight of Ruth seated c. and starts. Ruth rises) 
You? 

Ruth {clutches chair-back). George. 

Peggy {looks over shoulder anxioushj) . Alone? 

Ruth {hangs her head). Yes. 

Peggy {looks at Ruth curiously). Why? 

Ruth {looks up, shrugs her shoulders, smiles). Luck. 

Peggy {seats herself). Fine. {Sighs) 

Ruth {seats herself). Tired? 

Peggy {shakes head). No. 

Ruth {smiles). Bored? 

Peggy {laughs). Hardly. 

Ruth {roguishly). Stupid? 

Peggy {nods). Very. 

Ruth {holds out tray). Smoke? 

Peggy {pretends to light cigar) . Thanks. 

Ruth {as Peggy leans back and pretends to puff 
cigar). Mother? 

Peggy'' {folds arms). Fine. 

Ruth. Good. 

Peggy {leans forward and glares at Ruth). Frank? 

Ruth {toys ivith fan) . Fine. 

Peggy {frowns). France? 

Ruth {shakes head). No. {Drops fan) 

Peggy (scoivls). Home? 

Ruth {nods). Yes. {Looks about as if in search of 
something) 

Peggy. Handkerchief? {Helps her look) 

Ruth. Fan. 

Peggy {jjicks up fan that IIvth has dropped) . Here, 



18 Her Victory 

Ruth {takes fan from Peggy). Thanks. (Peggy 
takes Ruth's Ifiand and studies it. With raised eye- 
brows) Why? 

Peggy {taps her third finger). Ring? 

Ruth {withdraws hand abruptly and shakes head). 
No. 

Peggy. Soon ? 

Ruth {emphatically). No. 

Peggy {throws herself at Ruth's feet). Dearest. 

Ruth {draws back). No. 

Peggy {takes Ruth's hand). Dear. 

Ruth {withdraws her hand and rises). No. 

Peggy {clutches Rvtvl's dress) . Molly. 

Ruth {with dignity) . Miss 

Peggy {springs to feet). Never. 

Ruth. Miss. 

Peggy {surprised). Why? 

Ruth {looks over shoulder and speaks in loud whis- 
per). Papa. 

Peggy {clutches umbrella fiercely). Brute. 

Ruth {pleads, her hand on Peggy's arm). Don't. 

Peggy {draws cape about her). Farewell. 

Ruth {starts, surprised). No. 

Peggy {firmly). Yes. 

Ruth. Why? 

Peggy. Duty. 

Ruth. Duty? 

Peggy {firmly). Duty. 

Ruth {snaps fingers). Poof. 

Peggy. Honor, 

Ruth. Whose ? 

Peggy. Yours. 

Ruth {surprised). Mine? 

Peggy {fingering umbrella). Frank's. 

Ruth {frowns). Frank's. 

Peggy. Frank 

Ruth. Yes? 

Peggy. Loves 

Ruth. Loves? 



Her Victory 19 

Peggy. You. (Turns, stalks down) 

EuTH {follows Peggy and 'places her hand on her 
arm) . Frank 

Peggy (sighs). Yes 

RuTFi. Loves 

Peggy (draws a digger sigh). Yes. 

Ruth. Another. 

Peggy (starts). What? 

Ruth (points -finger at Peggy). Goose. 

Peggy (clasps Ruth m her arms). Angel. 

Ruth (her head on Feggy's shoulder). Dearest. 

Peggy (clasps her close?-). Darling. (Both turn, 
face audience and hoiv to r. and l. and pretend to draw 
curtain. All girls applaud as Peggy and Ruth take 
seats) 

Vera Davenport. That Avas clever, but I liked the 
monologue best. 

May. Did they have a monologue too? What was it 
about? Tell us, Vera, that's a duck! 

Vera. I don't remember it all, but it went something 
like this. (Takes c. and girls group themselves in hack- 
ground) I am Delphine going to the Movies. I am to 
meet my friend there at half-past two and it is now after 
three. (Waves hand in greeting) Oh, dearie, #/( ere you 
are. I just couldn't remember whether you said two or 
three, so I thought I'd better be on the safe side. It 
makes me so nervous to wait for any one. (Her hand in 
her hag) No, no, my dear. I insist. This is to be my 
treat. Oh, of course, if you have the change right there 
I shan't make a fuss. I think it's so foolish to argue 
about trifles like the Movies, and sodas and carfare, I 
just give in every time. Why, the idea. The place is 
jammed. Who'd have thought there were so many idle 
people in the world ? Especially men. There's an empty 
seat right on the aisle. (Starts to sit down, rises and 
turns as if to some one beside her) I beg your pardon. 
I didn't see your hat. (To friend) One seat down 
front? No, no, I won't at all. I'll wait until we can 
be together. Are you sure you don't mind? Well, o| 



20 Her Victory 

course if it would make you feel belter satisfied. It does 
wear me to a frazzle to stand. Perhaps you can find one 
after this picture. {Pretends to squeeze past a line of 
people) I beg your pardon. Oh, excuse me, was that 
your foot? I thought it was your bag. I'm sorry. 
{Looks over shoulder and frowns) Just a second, please. 
I simply must take my coat off before I sit down. Your 
little boy will have to have patience. Children are so 
badly trained these days. {Leans forward and pretends 
to tap some one on the shoulder) Would you mind tak- 
ing off your hat? Your hair. Why, the idea! {Looks 
over shoulder) My hat? Why, it's so small it couldn't 
possibly bother any one. What? I 7nust. Oh, bother. 
{Pretends to remove hat) There, I know I look a fright. 
{Yaivns) News Events. How tiresome. Thought I'd 
skipped them. Strange custom kissing on both eheel\S. 
If you don't like a man I should think one cheek would 
be enough and if you do like him why the cheek? Oh, 
dear, I do hope they're not going to play the ''Star 
Spangled" just as I've gotten comfortably settled. 
{Looks about desperately) There, I've dropped it. 
{Excitedly to some one ahead) Would you mind get- 
ting up and looking under your chair? I'm sure it 
rolled down. Will you ask that man in front of you to 
look under his? There, I saw that woman two seats 
ahead stoop down and pick up something. {Waves and 
calls) Usher, usher, here. Would you mind asking that 
woman if she picked up a purse? Yes, the woman with 
the wart on her nose. She didn't? Well, of course 
she'd say that. In my hand? {Looks down at hand 
and holds up purse) How funny! There's nothing in 
it but my powder box, but I'd hate to lose that. {Sud- 
denly hccomhig interested in picture) How nice! fash- 
ion pictures! So glad I came. Such an interesting bill. 
I'm going to have my new crepe meteor made just that 
way, {Indignanthi) The idea. Coming in late and 
standing right in front of me at the most exciting part. 
{Tries in vain to look first one side and then the other) 
^tcp^^ sliould be made to wait until the end of a picture 



Her Victory 21 

(Leans forward and prcieixds lo lap pcmnn alicad of her) 
Madam, madam, will you please be seated"? What? You 
are seated? Why, the idea! How some people sit up 
when they sit down, (To person next lier) Beg par- 
don, but have you the time? {Rises) Oh, my dear, I 
i-eally can't stay another minute. I just ran in to see 
those fashion models anyway. No, no, you really mustn't 
leave because I do. You told me you were wild to see 
Ihis picture. Yes, I know it's wonderful, but I promised 
P]'cd I'd be home early for dinner and I've simply got 
{o have my nails manicured and the girls are so snippy 
if you come in when tliey're closing. So glad to have 
had this nice little chat with you. Wish I had time to 
ask you about the kiddies. Did I tell you Fido had been 
ill? Oh, my dear, such a time. And the neighbors com- 
plained so just because he barked. The idea. Why, 
dogs are made that way. Doesn't the Bible say: "Let 
dogs delight to bark and bite"? I had to sit up all one 
night and hold his paw just to keep him quiet. Why, 
the idea! There's Marjorie White with her new car. 
{Waves) Marjorie, Marjorie. Why, the idea, I knoiv 
she saw me and drove right past. How selfish people 
with cars can be. Now for the Subway. 

ENTER Jean Webster d. r. 

Jean. The idea of you all calmly sitting here when the 
most wonderful thing has happened. :Mrs. Woods 

May (starting up). The next person who enters that 
door (Points off r.) and tells us about Mrs. Woods' ball 
is not going to escape alive. 

Jean (to May). But just think, we are going to have 
a chance to show what we can do. This isn't an ordinary 
ball. There is a prize offered for 

May (rolling up her sleeves). Go on, go on, but I 
hope you are prepared to die when you have finished 
telling us the news. 

Freddie (starting toivard d. r.). I thought you were 
all coming to my studio for salad. 



22 Her Victory 

Jean. No, they are coming to mine. The trunks ar- 
rived to-day. Three big ones packed jammed full of the 
most gorgeous costumes. Dad picks them up here and 
there on his travels and sends them when they are full 
for my studio work. If you need anything for the ball 
now's your chance. 

Ruth {throwing her arms around Jean). Jean, 
you're an angel and your father's a saint. 

Fan {starts toward d. r.). Come, girls, this sounds 
too good to be true. 

May (^0 Peggy). Do you suppose she means it ? 

Peggy. Of course she does. Jean would lend her 
head if any one wished to borrow it and her father 
has a check-book that reaches from here to kingdom 
come. 

May {to Fan as girls EXEUNT d. r.). Won't Hazel 
be wild when she hears about this! 

Fan {stojxs short in dismay). Hazel! My stars, I 
forgot all about her! She'll be dead. (Goes to d. l.) 

May. She'll be perfeetlj^ furious! 

Fan. Well, this time I shouldn't blame her! {Un- 
locks door and calls) Hazel! {Looks into closet then 
turns in dismay to May) Why, she's gone. 

May {looks into closet then turns to Fan). I won- 
dered at her being so quiet. How do you suppose she 
got out? 

Fan. The transom's open and Hazel can climb like 
a kitten. {Looking troubled) I 'm awfully sorry. I'm 
afraid she will be very angry. I wonder where she's 
gone ? 

May {her arm ahout Fan). Don't worry, Fan, 
Hazel's not very far. Besides, she knew you were only 
in fun. 

Fan {shakes her head). I'm not so sure. Perhaps 
I'd better look for her. 

May. Nonsense ! You're coming with me to see those 
costumes before all Ihe best ones are chosen. 

Fan. Lot me leave a note of explanation for her in 
ease she returns. 



Her Victory 23 

Mat. No, you can do your explaining later. Come, 
hurry up. [EXEUNT May and Fan d. r. 

ENTER Hazel and Grace Foster d, l. 

Grace. Hazel, what nonsense. 

Hazel {furioushj). That's all right, call it nonsense, 
call it anything you like, but I'm going to get even with 
hci', see if I don't. 

Grace. What are you going to do? 

Hazel. Never mind what I'm going to do. You'll 
find out fast enough when the time comes. 

Grace (trouhled) . I wish you wouldn't talk like that, 
Hazel, it makes me feel uncomfortable. 

Hazel (angrily). Maybe you think I felt comfortable 
shut up in there {Points to closet l.) for hours. 

Grace {smiles). Not quite hours, Hazel. 

Hazel. Well, it seemed hours to me. If it hadn't 
been for you I'd be there yet, and just because I asked 
what I should wear at Mrs. Woods' ball. The idea. 

Grace. Well, what are you going to wear ? 

Hazel. I don't know. That's what's troubling me. 
I don't know. 

Grace. How much money have you ? 

Hazel. Not a cent. Not a single red cent. My 
check hasn't come from home this month and I'm down 
and out. 

Grace {thought f idly) . I wish I could help you, but 
I spent my last dollar yesterday. 

Hazel (nods). That's the worst of this art business. 
AVhcn you 're down and out everybody else is in the same 
boat. There isn't two dollars in this whole house — 
{Slowly looks at blue vase) except 

Grace {quickly). Except what? 

Hazel {takes down vase). The blue vase. 

Grace {tries to take vase from Hazel). Hazel, you 
mustn't touch that. 

Hazel {keeps vase out of Grace's rcacli) . Why not? 
I just guess I put my savings in there, too. 



24 Her Victory 

Grace. But that 's for Betty's t.ypewriter. You know 
Fan has set her heart on getting one for her. 

Hazel. Fan's dippy about Betty. "Why should ^ve 
all scrimj) and save just to buy her a tyl)ewriter? 

Grace. Because no editor will read a thing to-day un- 
less it has been typed. You know that. 

Hazel. Of coui'se I know it but I don't see any one 
breaking their necks trying to buy me one. 

Grace. Fan says Betty is a genius. 

Hazel {tossing her head). Well, I'm not saying any- 
tliing against Betty, but did you read my last poem? 

Grace (.surprised). Yours? I didn't know you 
wrote i3oetry. 

Hazel. I didn't know it myself until last week. I 
found it out quite by accident. The way most great dis- 
coveries are made. (Seais herself and leans forward 
eagerly) Grace, if I tell you something, don't you 
breathe a word of it to a living soul. Promise? 

Grace {draws a chair up opposite Hazel excitedly). 
Sure. 

Hazel {leans hack). Writing poetry is as easy as pie. 

Grace {smiles). Well, I can't quite believe that. 

Hazel. Poetry is the simplest thing in the world. 
I'll show you exactly how it is done. (Goes to easel and 
fakes up hit of charcoal) Say you want to write a poem 
on — well — "Spring," for instance. You get a lot of 
words tliat rhyme like — ring, sing, bring, fling, and then 
you string them together like this: {Writes) 

All the wedding bells now — ring — 
While the merry birds do — sing — 
All the Avorld its — 

{Hesitates, shrugs her shoulders) 

something bring — 
Just to greet the lovely — spring. 

See how it works? You can go back and fill in the hard 
words afterwards. 



I 



Her Victory 25 

Grace {:dudies the irords written vpon easel). But 
I tliouglit there was more to poetry than that. 

Hazel {nods wisely). There isn't. Not a single 
solitary thing. 

Grace. But Betty's poetry sounds different. 

Hazel. Just because she's been at it longer. She's 
had more practice. But I can't see that's any reason 
A\;hy she should have a typewriter given to her any more 
than to the rest of us. And, by George, it would serve 
Fan just right if we sliould draw our money out now. It 
would just serve her right. 

Grace {lici- arm ah'out Hazel). Hazel, you are not 
going to do any such thing. You are coming to my room 
to have supper with me and you are going to forget all 
about this nonsense. 

Hazel. I'll go to your room for supper as long as 
yon are so urgent, but I've forgiven Fan enough limes. 
Now I am going to pay her back and I've thought of the 
very best way. 

Grace (leading Hazel off d. r.). Forget it, Hazel, 
forget it. [EXEIJNT Hazel and Grace d. r. 

ENTER Victoria and Laura d. l. 

Laura ( loolts in cautiously first and finding tJie studio 
empty, drags in Victoria, a bright little pickaninny, who 
Tools frightened and ((bout to cry) . Come along in here, 
you Vickey. Come along in. I'se gwine to sculp you 
dis time shore as you're a-libbin. 

Vickey {trying to pidl away from Laura's restrain- 
ing hand). But I don't want to be scalped, Laura, clar 
ter goodness I don't. 

Laura {letting go of Vickey 's arm in amazement). 
Fo' der Ian' sake, chile, is you plumb crazy? I didn't 
say scalp. I said sculp. S-k-u-l-l-p-p — Skulp. 

Vickey {shakes her head vigorously). I don't see 
no difference atween dem words. Day sounds jist alike 
ter me an' I don't like der sound. 

Laura {looks at Vickey in disgust). Dat's cose 



26 Her Victory 

you're so ignrunt. Scalp means i'ur tcr take all der hair 
offcn you haid like dis here. (Makes the motion of 
scalping) An' sculp — sculp — well, sculp is — is jus' to 
sort ob take ycr skin. 

ViCKEY (starts ivith determination toward the door). 
Dat's nuff. Dat show am nuff fer me. I'sc goin' home. 
I ain't a-goin' ter be skalpt nor sculpt nor nuflin. I'se 
goin' home. 

Laura (catches Vickey's arm hastily). But, Vickey, 
wait — wait jus' a minute. Dis sculpin I'se a-gwine ter 
do ter you won't hurt yer none. 

Vickey (slipinng away from- Laura). I'se a-goin' 
home, I tell yer, Laura. My mammy wants me. 

Laura (indignantly). Yo mammj don't want you 
'tall. I done tol' her I'se a-gwine ter take you wif me 
dis afternoon an' I'se a-gwinc ter do it. 

Vickey. I 'se a-gwine home. I want my mammy, 

Laura (patting her pocket and smacking her lips). 
Umm. You don 't know what I 'se got in my pocket, 

Vickey (rubl)ing her eyes and sniffing). I want m; 
mammy. 

Laura (pretends to peep into pocket). Umm — it 
slioo am good. (Holds out pocket to Vickey) Want ter 
feel? 

Vickey (pushes Laura away). I want my mammy. 

Laura (stamps her foot impatiently). Stop dat 
eryin', Victoria Johnsing, an' listen to me. You can't 
git out of dat air do' (Points off d. r.) cose it's locked 
an' I done frew der key outer der winder. You jist 
naturally got ter wait till der young ladies come home. 

Vickey (kicking with both feet and jumping up and 
down in fury). I want my mammy, I want my mammy. 
(Screams) I want my mammy. 

Laura (catcliing Vickey by the arm and shaking her). 
If you don't quit dat screachin' a great big goblin will 
come plum up fru dis year floor an' eat you up quicker 
dan you kin wink. 

Vickey. I want my mammy. I want my manniiy. 

Laura (knocks slyly upon the hack of the chair, then 



\ 



I 



Her Victory 27 

fiiops and lisiens. Bends down as if listening io sound 
from floor). Hear dat? You hear dat noise. Dat's 
him, (Calls) Go 'way, Mr. Hobgoblin. Dere don't 
nobody lib here no mo'. (Listens, then nods) Dere 
now, lie's gone. He don't ncbber come less somebody 
cries. Now you be a good chile or I'll call him back an' 
maybe nex' time he won't go 'way so easy. Now git up 
on dat chair quick. I'se a-gwine ter make you into a 
statuette. 

ViCKEY (draws hack reluctantly). But I — I don't 
want ter be no statue wet, Laura, clar ter goodness I 
don't. 

Laura (licr hands on her hijjs). Fo' der Ian' sake, 
Vickcy Johnsing, what's got into you anyway? Didn't I 
done buy you a nice cream comb fer ter pay you fur dis? 
An' didn't you done eat it? You think I'se a-spendin' 
my money on you fur nuffin? 

ViCKEY. I know my mammy won't Avant fur me ter 
be no statue wet. 

Laura (raps on tahlc). You want me ter call dat air 
goblin up from der floor? 

ViCKEY (starts toward door). Let me git Beckey? 
Beekey will be tickled ter def ter be a statue Avet. Her 
mammy lets her play in der wash-tub, 

Laura (in disgust), l^eckey? Why, Beckey won't 
do 'tall. Didn't you hear Miss Hazel tell Miss May dat 
dere avuz a prize fur der bes' statue ob Victory? An' 
ain't you' name Victory? Beckey 's jist Beckey. Dere 
ain't no prize fur her. 

ViCKEY (looks about studio). I ain't nebber seed no 
black statue, Dey's all time made ob white stuff. 
(Points to plaster casts) 

Lavra (looks (d)Out thoughtfully) . Dat's so. P'r'aps 
I'd better dip you in der flour barrel furst. 

ViCKEY (hacks awaij). No, ma'am. I done floured 
my hair onct an' mammy most peeled me a-gittin' of it 
off. No, ma'am, I'se black an' black I stays or I don't 
git took at all. 

Laura (points to hronze statue). Dar's one over yon- 



28 Her Victory 

der an' dar's aiiotlier. We Mn make you black, Vickey, 
so git up on dis year chair afore it gits loo late. 

Vickey {climbs 7'eluctantlij upon cliair). How cum 
I stand on dis year chair? I ain't nebber seed no 
statue wot has tcr stan' on no chair. 

Laura {gathers up draperies from room and drapes 
tliem about Vickey and cliair, talking as she does so), 
Der chair gits all eubbercd up an' you gits cubbcrcd up 
so you don't look like yo'self no mo', but jist like a statue, 
dis here way. Now you stan' on der tip ob one toe wif 
der other foot a-stickin' out a-hind you, dis a-way, an' 
you hoi' dis fo' a wreath like you wuz an angel wif a 
crown ob glory. Dare. {Having posed Vickey to her 
satisfaction) Now you stand dat a-way an' don't yer 
budge till I make you statue. 

Vickey {sivaying). But I can't keep dis a-way, 
Laura, my foot's a-gwine ter sleep. 

Laura {catches up lump of clay). Let her go an' 
don't you wake her. Der sounder dat foot sleeps der 
better I likes it. 

Vickey {drops her pose). Dar's some one a-eomin', 
Laura, I hear somebody a-eomin'. 

Laura {posing Vickey again impatiently) . Dar ain't 
not. If you budge agin, Vickey Johnsing, I'll — I'll — 
well, jes' you budge an' you'll see what 11 happen,. 

Vickey {jumps from chair and clasps Laura about 
the skirts). It's dat goblin. Lawzee, Laura, it's dat 
goblin come back. 

Laura {as the sound of footsteps and voices are 
heard off). Hide, Vickey, quick, in here, and don't 
breave. [EXEUNT Laura and Vickey d. l. 

ENTER Hazel d. r. She stands c. a second hesitating, 
then takes down the blue vase and deliberately trans- 
fers the money it contains into the hand-bag she 
carries. Leaves the blue vase upon the table and 
EXITS D. R, 

REENTER Laura and Vickey d, l,, slowly and timidly. 
Laura {grows bolder as she steps into room and finds 



Her Victory 29 

nobody there). "SVot did I tell you, scare-eat? Dere 
ain't nobody here 'tall. 

ViCKEY {looks about sharply and spies the blue vase). 
Dere wuz somebody here. How cum dat vase walk offen. 
dat air shelf an' sot hisself up on dat air table? 

Laura {takes up vase and looks at it with interest). 
Dis here vase? Dis here vase has been a-sotten on dis 
yere table all 'long. 

ViCKEY {shakes her head emphatically) . Um-um — no 
deedy. Dat air vase is haunted an' I beared der haunt. 

ENTER JosiE Murray and Nanette Lyle d. r. 

JosiE {over her shoulder to Nanette, who follows 
her). This way, Nanette. (T urns, sees Laura) Why, 
Laura, what are you doing here ? 

Laura {starting). Lawzee, Miss Jo, you done skeered 
me most ter deaf. 

Nanette {taking off her wraps). Where is Miss May, 
Laura ? 

Jo {looks about). And Miss Frances? 

Laura {nervously). I — I — done know. Dey — dey 
ain 't here. 

Nanette. So I pe#eeive. 

Jo. But where are they? 

Laura. I — I think dey — dey's done gorn out. 

Jo. Really? You don't say so? And what makes 
you think they 's done gorn out ? 

Laura {twisting a corner of her apron). I — I dunno. 
I — I jes' concluded it. 

Nanette. And what time do you conclude that they'll 
be back? 

Laura {quickly). Dey ain't no tell. Wen dey goes 
out dey's the out-an-outenest folks eber seed. 

Nanette {looks from Laura to Vickey). And what 
are you and your friend doing here? 

Laura {points in surprise to Vickey). Her? She 
ain't no frien' ob mine. She's jes' Vickey. 

Jo. You and Vickey look as if there were mischief 
brewing. 



30 Her Victory 

Nanette. Does Miss May allow you two the use of 

lier studio in her absence? 

Laura (puzzled). Huh? 

Jo. She means, Laura, does Miss May allow you in 
here when she 's not home ? 

Laura. Miss May? Oh, yes, indeed}'. She don't 
care. She's powerful easy. It's Miss Fan I'se skeered 
on. She'd raise der roof. 

Jo. Indeed ? Then why are you here ? 

Laura (nervously) . Well, me, me an' Vickey, we sort 
ob circumnabigatin' roun' an' — an' — an' 

Jo (points to Laura's hand). What's that in your 
hand, Laura? 

Laura (looks at clay in her hand in well-feigned sur- 
pi'ise). My han'? Dat? Oh, dat's jes' some putty. 
Our winder he rattles something fierce an' — an' granmam 
she said if she had some putty she could fix it. So — so — 
I wuz jist a-gwine ter ax Miss May if she'd gib me some 
ob dis yere when — when you-all comes in. 

ENTER Fan d. r. 

Fan (surprised to see girls). ^ 'Why, Josie, how long 
have you been here, and Nanette, too ? 

Jo. We ran in to tell yen a bit of news, but I see 
we're rather late. 

Fan. Not at all. We're in Jean's studio. Her 
father has just sent her the most wonderful trunk full of 
costumes. She is going to help us all out for the ball. I 

Nanette (eagerly). Do you suppose she has any- * 
thing I could wear? 

Fan. I'm sure of it. I just ran back to see if Hazel 
had come in. There's one dress that she'll be simply 
wild over. Have you seen her anywhere? | 

Jo. Hazel? Why, yes, we met her as we were coming * 
in, but she seemed to be in a great hurry about some- 
thing and ran right past us. But you haven't asked 
about my piece of news. Aren't you interested? 

Fan. You mean the prize offered by Mr. Clennnons? 



ti 



Her Victory 31 

Jo. No, it's about Betty's typewriter. I've sold my 
nagaziiie cover and now we can get the typewriter in 
time for her birtliday. 

Fan. Jo, how perfectly lovely. Just wait until I 
call May. [EXIT Fan d. r. 

Nanette {to Jo). Jo, you didn't tell me you had 
sold your design. 

Jo. I wanted to wait until I could get the girls to^ 
gether. See, here's my check. Isn't it lovely? {Both 
girls heiid over check) 

ENTER Fan and May d. r. 

May. What 's this I hear ? Your magazine cover sold, 
Jo? Really sold? 

Jo {holds check aloft). Sold and, what's more, paid 
for. Cash down. 

May {sinks into chair in pretended collapse). Some 
water quick. I'm going to faint. 

Jo. Half goes home. Five dollars goes for a spread 
for the girls and the rest goes 

Fan. Into the blue vase. 

Nanette. Into what? 

Fan. The blue vase. May and I have used that for 
our bank ever since I smashed the green teapot. 

Jo {takes up vase from table). You don't mean — 
this? 

Fan {takes vase from Jo and looks inside). Yes. 
Why — why — where is it? {Looks up in surprise at 
girls) 

Nanette {takes vase fro7n Fa's) . Where's what? 

Fan. The money. It was there. In the vase. 

Jo. Are you sure? 

Fan. Perfectly sure. May and I counted it only this 
morning. 

Nanette. Where did you keep the vase ? 

May {points to shelf). On that shelf. Over there. 

Nanette {turns to Laura, who has heen standing 



32 Her Victory 

close hy Vickey silently looking on). When we came in 
Laura was standing by this table with that vase in her 
hand. 

Fan ( turns and sees Laura for the first time ) . Laura ? 
Laura 1 

Laura (nervously). Deed, Miss Fan, I nebber teched 
dat vase. Clar ter goodness I didn't. 

Nanette. Why, Laura, you had that vase in your 
hand when we came in. 

Laura. But it didn't hab nuffin in it. You kin ax 
Vickey. {Turns suddenly to Vickey, who has been 
standing open-mouthed) Look a-liere, you Vickey, wot 
for you a-standin' thar wif yer mouth open an' nuffin in 
it but yer finger? Speak up an' tell 'em we nebber 
tetched nuffin outer dat vase. 

Vickey. We? 

Laura {shaking her slightly) . Yes, we. You an 'me. 
Didn 't you hear 'em accusin ' us ? 

Vickey {shakes her head vigorously). Um-um. I 
nebbtr heared nuffin 'bout "We." 

Fan {brushing JjAVRa aside) . Wait a minute, Laura, 
I'll speak to Vickey. Now, Vickey, come here to me. 
(Vickey goes a step nearer) What were you and Laura 
doing in this studio? 

Vickey {on the verge of tears). Laura, Laura, she — 
she said she wuz gwine ter scalp me an' — an' I said my 
mammy would be roarin' mad an' — an' she locked der 
door an' frowed der key outer der winder an' — an' she 
said if I didn't be no statue wet der goblin would git me 
cose my name's "Victry," an' der statue got ter be Vic- 
try. An' — an' — we heared somebody comin' an' we hide 
in dar. {Points v. l,.) An ' when we wuz outer der room 
dat air vase walked plum offer der shelf an' outer dis 
yere table, an' I sez it's a haunt an' I'se gwine home. 
{Starts toward d. r.) 

May {stands before d. r. to stop Vickey). You'll 
stay right where you are, my lady, till we get to the bot- 
tom of this. 

Vickey {whining). But my mammy's a-lookin' fur 



k 



Her Victory 33 

me, Miss May. If — if I don't hurry she — she'll gib me 
*'Hail Columbia." (Sobs) 

Fan {to Laura). Did any one come into the studio 
Avhile you were here, Laura? 

Laura {sliakes Iter head). No, ma'am, nary a soul. 

ViCKEY {between her sobs). Nobody but der haunt. 

May {impatiently). What haunt are you talking 
about, Vickey? 

ViCKEY. Der haunt wot tuk dat air vase offer dat air ■ 
shelf an' sot it up on dat air table. 

Fan. What nonsense. Did you see the haunt, 
Viekey 1 

ViCKEY. No, but I heard it mighty plain. 

May {to Jo). Was there any one in the studio or hall 
when you came in, Jo, except these two? {Indicates 
Laura and Vickey) 

Jo. There seemed to be no one in the whole building 
but Hazel. 

Fan. Hazel ? Did you say Hazel ? 

Jo. Yes. She passed us down-stairs. 

Fan. Did you stop to speak to her ? 

Jo. No, we called but she seemed in great haste about 
something. 

Nanette. Clrace was waiting outside and I heard 
Hazel say something to her about getting even with some- 
body, but I didn't catch the name. 

Fan {to Vickey). Did Miss Hazel come into the 
studio, Viekey? 

Vickey. Didn't I done tol' yer? Thar didn't nobody 
come into dis year studio but der haunt. 

Fan. Do you know Miss Hazel when you see her ? 

May {indignantly). Fan, what are you trying to get 
at ? Surely you don't think that Hazel would touch that 
money ? 

Fan {thoughtfully). I know she was pretty angry 
and if she thought she could get even with me by teasing 
this way she miglit 

May {interrupting). Nonsense. Hazel wanted Betty 
to have that typewriter as much as we did. Hazel speaks 



34 Her Victory 

quickly and sputters when she is provoked, but she has 
a heart as big as a house and she wouldn't stand in 
Betty 's way for a minute. 

Fan. But somebody's walked off with the contents of 
the blue vase. 

ENTER Peggy d. r., wlio stands in doorway and calls. 

Peggy. Aren't you girls ever coming? Frederika 
has arranged the tableaux and she wants your opinion. 

Fan (io Peggy). Just a minute, Peggy. (To girls) 
Listen, girls, not a word of this to a soul to-night. It's 
a very serious matter and we must not make any mis- 
take. [EXIT Peggy d. k. 

ViCKEY. Kin I go home ? 

May, No, you cannot. Don't you budge from that 
spot until I give you permission. 

Vickey {with a toss of her head). Hum. I budge 
when I pleases. I don't ax no mission from nobody. 

ENTER Miss Woods d. r., remains at door. 

Miss Woods. Girls, you were all so quiet I thought no 
one was at home. 

Fan. Miss Woods, how nice; come right in, won't 
you? 

Miss Woods (taking the chair Fan offers her). Have 
you heard about the prize Mr. Clemmons has offered? 

May. Yes, isn't it wonderful! The girls are simply 
wild about it. 

JMiss Woods. I'm not surprised, but mother is so 
afraid that they Avill lose their heads and not do them- 
selves justice. She wants them to exhibit their very best 
work. I wonder if you will let me help you make your 
selections ? 

Fan. That would be fine. We'll have a rehearsal and 
you tell us exactly what you think. Here, Vickey, you 
run down to Miss Frederika 's room and tell her Miss 
Woods is here and wants to see everybody. 

Vickey {stuhhornly) . Um-um. No deedy. Miss 



Her Victory 35 

May done toP me not to budge an' I ain't a-budgin'. 
You'll have ter ax Laura. 

Laura. I'll go, Miss Fan, Vickey's dat contrary. 
Ebbery time you tell her don't do, she up an' does and 
when you tell her do do she don't. Dat's Vickey. 

[EXIT Laura d. r. 

Miss Woods. What is your idea of Victory, May? 

May. My idea of Victory? Oh, so many thoughts 
come crowding that it almost overwhelms me. Some- 
times I seem to see just a girl in the costume of a Red 
Cross Nurse in the midst of a group of little children. 

NOTE. — If possible it is very effective here if a curtain 
could he draivn across the hack of the stage, the 
tahleau described grouped hack of it, and then the 
curtain lifted for a few seconds to show each pic- 
ture. The tableaux make an attractive addition to 
the play but they arc not essential. A Victory 
march, violin solo, poem, dance or song could also 
he introduced here if desired. 

Miss Woods. What is your idea, Fan ? 

Fan. I see a wonderful group with uplifted banners 
and inspired eyes that look far into the future, 

Nanette. I see a single figure draped in flowing 
white. She holds aloft a wreath in one hand and in her 
other there is a sheathed sword. 

ENTER Hazel d. r. She carries a typewriter which she 
places at Fan's feet. 

Hazel (rubbing her arm as if relieved of a great 
weight). Here's your old typewriter. Now I hope 
you 're satisfied. 

Fan (surprised, looking from typewriter to Hazel 'a 
flushed face). Hazel, where on earth did this eom«, 
from ? What is it anyway ? 

Hazel {impatiently). It's the typewriter. Can't, 
you see it's a typewriter? My dear Fan, don't look so 



36 Her Victory 

stupid. What have we all been saving up for? Betty's 
typewriter. There it is. 

Fan. But we can't keep it. It will have to go back. 
Some one has emptied the blue vase and the money 's^ 
gone. 

Hazel. Of course it's gone. I took it. 

Fan. You? Why? 

Hazel. My check came this evening unexpectedly. 
It was just enough with what we had saved to buy the 
machine. I ran in to tell you about our good luck but 
no one was here and I didn't dare wait because — well — 
(Smiling) because I was afraid that check might turn 
over night into a costume to wear at a certain ball and — 
well — when it comes to the point, I don't really have to 
go to that ball. The world wouldn't come to an end if 
I did stay home. 

Fan (holding out her hand). Hazel, you're a brick. 
(To Miss Woods) Do you know what she has done, 
Miss Woods? We were all saving up to buy a type- 
writer for Betty. She writes wonderfully, but no editor 
will read a thing these days unless it's typed. Our 
Hazel here has been just wild for a new costume ever 
since she heard about the ball, but to-night when her 
check came instead of spending it for herself she marched 
right out and bought this typewriter for Betty. What 
do you think of that? 

]\IiRS Woods. I think Hazel has shown us a fair sam- 
ple of what the word Victory can really mean. 



CURTAIN 



NEW PLAYS 



BASHFUL MR. BOBBS PRICE 25 CENTS 

A Farce-comedy in 3 acts, by Walter Ben Hare. 4 males, 7 females. 1 
interior. Time, 2^2 hours. The Bashful Mr. Bobbs, has to shoulder the 
blame for his cousin's (Marston Bobbs) escapades. Introduces an excellent 
comedy rube character, a comical country landlady, a movie actress, her 
French maid and other well contrasted characters. The dialogue is bright 
and snappy. 

WHOSE WIDOW? PRICE 25 CENTS 

A comedy in 1 act, by H. C. CTifford. S males, 4 females. 1 interior. 
Plays SO minutes. Marcella, a young Western girl, arrives at her aunt's 
wearing a widow's gown, much to everyone's surprise. She assumes the 
name of Mrs. Loney and is soon made acquainted with persons of that 
name, presumably relatives of her alleged husband. After many comical 
incidents Marcella finds her match. Recommended for schools. 

REGULAR GIRLS PRICE 25 CENTS 

A patriotic musical entertainment in 1 scene, by M. O. Wallace, for 7 
principal girls and as many Sailor Boys (girls). Military Girls, Band Girls 
as are available. Time, about 1 hour. Gives broad scope for vocal and 
instrumental talent. 

ONE HUNDRED PER CENT. AMERICAN 

PRICE 25 CENTS 

A patriotic comedy in 1 act, by D. D. Calhoun, for IS or 13 girls. 1 
interior. Time, 1 Yi hours. Tells how the girls of a fashionable school do 
work for "the Cause." Introduces country girl, an Irish detective and six 
scholars of individual character types. Recommended for schools. 

PHARAOH'S KNOB PRICE 25 CENTS 

A comedy in 1 act, by E. J. Craine. 1 male, 12 females. 1 interior. 
Time, 1 hour. Lieut. Kingston in love with Elizabeth is repulsed by her 
mother who does not approve of penniless soldiers. He finds an iridescent 
knob and through its supposed charm he is successful in his suit. 

ALICE'S BLIGHTED PROFESSION PRICE 25 CENTS 

A sketch in 1 act, by H. C. Clifford, for 6 or 8 girls. 1 interior. Time, 
about 50 minutes. Alice, a clientless young lawyer seeking a stenographer, 
has several applicants but none gives satisfaction. It eventually develops 
that all the applicants were disguised school friends of Alice's and adopted 
this method to induce her to give up the profession. Recommended for 
schools. 

MADAME G. WHILIKENS' BEAUTY PARLOR 

PRICE 25 CENTS 

An entertainment in 2 acts, by V. G. Brown, for 12 or less female 
characters. 1 interior. Time, if played straight, about 50 minutes. In- 
troducing among others, French, Irish, colored, rube characters, two sales- 
ladies, all strongly contrasted, thus giving scope for individuality. 

HUSBAND ON SALARY, A PRICE 25 CENTS 

A farce in 3 acts, by J. H. Slater. 3 males, 3 females. 2 interiors. 
Time, 2 hours. Alice Morley who was disappointed in love is determined 
to revenge herself upon the male sex. How it works out is cleverly told 
In this bright farce. Full oi action. 



COMEDIES AND DRAMAS 

JOSIAH'S COURTSHIP PRICE 25 CENTS 

Comedy in 4 acts, by H. C. Dale. 7 males, 4 females. Easily staged. 
Time, 2 hours. Recommended to dramatic clubs in want of something 
with good comedy feature and forceful but not too heavy straight business. 

THE LAST CHANCE PRICE 25 CENTS 

Comedy in 2 acts, by A. E. Bailey. 2 males, 12 females. 1 interior. 
Time, 1 }4 hours. Full of action, bright and witty dialogue, incidentally 
introducing a burlesque on "Lord Ullin's Daughter." For schools and 
colleges. 

A LEGAL PUZZLE PRICE 25 CENTS 

Farce comedy in 3 acts, by W. A. Tremayne. 7 males, S females. 3 
interiors. Time, 2J4 hours. This play can be highly recommended, the 
scenes are easy, the dialogue brisk and snappy, and the action rapid. 

LODGERS TAKEN IN PRICE 25 CENTS 

Comedy in 3 acts, by L. C. Tees. 6 males, 4 females. 1 interior. Time, 
21/2 hours. A husband with a strong case of the "'green-eyed monster" 
taking a trip abroad, places his home in charge of a ne'er-do-well nephew. 
The nephew relits the rooms to tenants, whose diversified characters pre- 
sent great opportunity for comedy acting. This is adapted from the same 
work upon which Wm. Gillette's famous "All the Comforts of Home" is 
based. 

MISTRESS OF ST. IVES PRICE 25 CENTS 

Drama of the new South in 3 acts, by G. V. May. 7 males, 5 females. 
1 interior. Time, 2^ hours. The cast has a typical southern planter of 
olde.-i times, his two daughters, a peppery southern major, a lawyer from 
the North, a comical colored valet, etc., etc. 

NEVER AGAIN PRICE 25 CENTS 

Farce in 3 acts, by A. E. Wills. 7 males, 5 females. 1 interior. Time, 
254 hours. Fletcher, a crabbed husband, refuses a reference to Dora, a 
discharged maid. Jn Marie, the new maid, he discovers an attractive dancer 
to whom he had been very attentive at a recent ball; the schemes devised 
by the two maids to punish Fletcher lead to many amusing complications 
and to an unusual climax. 

PETER PIPER'S TROUBLES jPRICE 25 CENTS 

Comedy in 4 acts, by J. H. Slater. 5 males. 3 females. 2 interiors. 
Time, 2^5 hours. The troubles are caused largely by his desire to oblige 
his friends and are of a social, financial and business variety, all of which 
are finally overcome. 

PHYLLIS'S INHERITANCE PRICE 25 CENTS 

Comedy in 3 acts, by F. H. Bernard. 6 males, 9 females. 1 interior, 1 
exterior. Time, 2 hours. Phyllis, Philip's wife, is to inherit a fortune from 
an East Indian uncle, provided she marries his adopted son, who is about 
to visit her. Two men call with introductory letters, which she does not 
read, supposing each in turn to be the adopted son. 

A RUNAWAY COUPLE PRICE 25 CENTS 

Farce in 2 acts, by W. A. Tremayne. 4 males, 4 females. 1 interior. 

Time, 2 hours. A married man of nervous temperament, temporarily in 

charge of an eloping lady, while the husband-to-be is procuring the license, 

• is himself accused of having run away with her. The arrival of the absent 

lover relieves the situation and leads to an unusually effective climax. 

TOO MANY HUSBANDS PRICE 25 CENTS 

Farce in 2 acts, by A. E. Wills. 8 males, 4 females. 1 interior. Time, 
2 hours. The action is continuous, dialogue snappy and climax so unex- 
pected, that this farce can be recommended as one of the most laughable 



COMEDIES AND DRAMAS 

BILLY'S BUNGALOW PRICE 25 CENTS 

Comedy in 3 acts, by E. M. Crane. 5 males, 4 females. 1 interior. 
Time, 2 hours. The amusing episodes of a house-party at Billy's Bungalow 
on Cedar Island. The situations are both serious and ludicrous with a 
dramatically elTective climax. 

BRIDE AND GROOM PRICE 25 CENTS 

Farce in 3 acts, by Walter B. Hare. S males, 5 females. 1 interior. 
Time, a full evening. A new play by this well-known author who has so 
many successes to his credit. \'ery bright, filled with comic surprises and 
free frsm any coarseness. Recommended for all occasions. 

BUBBLES PRICE 25 CENTS 

Comedy in 3 acts, by Jane Swenarton. 4 males, 3 females, 1 exterior. 
Time, I'/i hours. A sparkling comedy recommended for schools. 

BUTTERNUT'S BRIDE; OR, SHE WOULD BE A 
WIDOW PRICE 25 CENTS 

Comedy in 3 acts, by L. C. Tees ; 1 1 males, 6 females. 3 interiors. 
Tirne^ 2yi hours. The leading male characters offer uncommon Oppor- 
tunities for two comedians, while the remaining male parts yield barrels 
of fun. The female characters are all first-rate, but none of them difficult. 

COLLEGE CHUMS PRICE 25 CENTS 

Comedy in 3 acts, by A. E. Wills. 9 males, 3 females. 1 interior. 
Time, 2 hours. An ambitious young man is transformed through his col- 
lege surroundings into an atldete of vigor and spirit. Two opposing Civil 
War veterans and a German professor sustain the comedy parts. 

COUNT OF NO ACCOUNT PRICE 25 CENTS 

Comedy in 3 acts, by A. E. Wills. 9 males, 4 females. 1 interior, 1 
exterior. Time, 2^4 hours. The action occurs at the "Lion Inn" in the 
Catskills, the proprietor of which has advertised a Count Nogoodio as so- 
journing at his hotel. Guests arrive, but no count, whereupon the land- 
lord induces a tramp to impersonate the count. The tramp creates end- 
less absurd situations and surprises. A French waitress has an excellent 
soubrette role. 

THE DEACON PRICE 25 CENTS 

Comedy drama in 5 acts, by H. C. Dale. 8 males, 6 females. Time, 2J^ 
hours. A play of the Alvin Joslyn type, easily staged. Abounds in humor- 
ous incidents and ludicrous situations, and has much farcical business. 

DOCTOR BY COURTESY PRICE 25 CENTS 

Far«e in 3 acts, by Ullie Akerstrom. 6 males, 5 females. 2 interiors. 
Time, 2 hours. Doctor Sly's father-in-law adopts very strong methods to 
force Sly into practice, causing all manner of comical situations, which 
rapidly follow each other and all of which are finally unravelled. 

GIRL FROM PORTO RICO PRICE 25 CENTS 

Comedy in 3 acts, by J. LeBrandt. 5 males, 3 females. 1 interior-. 
Time, 2^A hours. Mr. Mite's fiery daughter, Dina, marries with a view of 
subjugating her husband and making his life a torture, but finds her mas- 
ter in Jack, who finally wins her love. 

HURRICANE WOOING PRICE 25 CENTS 

Comedy in 3 acts, by W. & T. Giles. 4 males, 3 females. 1 mterjor. 
Time. \14 hours. In order to inherit a fortune. Jack finds an immediate 
marriage necessary. His attempts to wed are most ludicrously given m 
this sketch. Dialogue and action bright and snappy. 

JOHN BRAG PRICE 25 CENTS 

Farce in 4 acts, by G. V. May. 8 males, 5 females. 1 interior, 1 ex- 
terior. Tinie, 2'^ hours. Brag, a sporty old fellow, to save himself from 
financial ruin pretends to be dead. This leads to all kinds of comiHica- 
tions. The characters are all good and there is nothing slow in the piece. 



COMEDIES AND DRAMAS 

WHAT'S NEXT PRICE 25 CENTS 

Comedy in 3 acts, by Bob Watt. 7 males, 4 females. 2 interiors. 
Time, 2)i hours. A specialty play, strong in character parts, tells a ^ood 
story and keeps the spectators in a state of expectancy about what is to 
happen next. Children can be used in the first act. 

A WHITE LIE PRICE 25 CENTS 

Comedy drama in_J[ acts, by H. C. Dale. 4 males, 3 females. Time, 
2J4 hour*. A favorite play with all audiences. It abounds in laughable 
comedy features and strong situations of serious interest. Each character 
offers scope for fine acting. 

WHITE SHAWL PRICE 25 CENTS 

Farce in 2 acts, by C. L. Dalrymple. 3 males, 3 females. _ 1 interior. 
Time, 114 hours. A cleverly arranged "Comedy of Errors" in which an 
elderly doctor's attempt at wooing a young girl already engaged, and the 
strategy of two young men to defeat the doctor's aims all result in getting 
things tangled up in. the most ludicrous manner. Woman's wit sets mat- 
ters right at last. 

WIDOW'S WILES PRICE 25 CENTS 

Comedy in 3 acts, by E. H. Calaway. 7 males, 8 females. 3 interiors. 
Time, 2 nours. An apparently simple plot, but involving unexpected com- 
plications which arouse the keenest interest in the fate of the leading 
characters. 

CHANCE AT MIDNIGHT PRICE 25 CENTS 

Powerful dramatic episode in 1 act, by C. Stuart. 2 males, 1 female 
and a non-speaking role for a five-year-old child. 1 interior. Time, 25 
minutes. A scoundrel attempts to blackmail a wife and is foiled by an 
escapev? convict. 

CONQUEST OF HELEN PRICE 25 CENTS 

Comedy in 1 act, by R. W. Tag. 3 males, 2 females. 1 interior. Time. 

1 hour. A clever play with an excellent female lead, a young man well 

posted on current events, straight male lead and an Irish servant girl. 
Very witty, action rapid. 

FOUND IN A CLOSET PRICE 25 CENTS 

Comedy in 1 act, by C. Van Valkenburg. 1 male, 3 females. 1 interior. 
Time, 20 minutes. Bright sketch, practically for 2 girls. What they 
found in the closet was the means of reuniting an estranged couple. 

THE HOOSIER SCHOOL PRICE 15 CENTS 

Farce in 1 act, by W. & J. Giles. 5 males, 5 fem.ales. 1 interior. Time, 
}4 hour. The rough and ready teacher and his tricky scholars keep the 
audience in a roar. The teacher is finally squelched by the irate mother 
of one of his pupils. 

STANDING ROOM ONLY PRICE 15 CENTS 

Comedy in 1 act. by D. S. Anderson. 3 males, 1 female. 1 interior. 
Time, yi hour. Plenty of humor, bright dialogue and rapid action. A 
very superior female lead. 

A STORMY NIGHT PRICE 15 CENTS 

Comedy in 1 act, by K. Kavanaugh. 3 males, 1 female. 1 interior. 
Time, 40 minutes. The dialogue is crisp, up-to-date and somewhat on the 
order of a cross-fire sketch. 

LOVEBIRD'S MATRIMONIAL AGENCY 
I PRICE 15 CENTS 

Farce in 1 act, by H. Sander. 3 males, 4 females. 1 interior. Time, 
•4 hour. Dick, very "short" in money but very "long" in debts, decide* 
to open a matrimonial agency. The clients, all character parts, are espe- 
cially good. 



PLAYS WE RECOMMEND 



Fifteen Cents Each (Postage, i Cent Extra) 

Unless Otherwise Mentioned 

Acts Males Females 



Arabian Nights 

Bundle of Matches 

Crawford's Claim 

Her Ladyship's Niece 

Just for Fun (27c.) 

Men, Maids, Matchmakers 

Our Boys 

Puzzled Detective 

Three Hats 

Timothy Delano's 

Courtship 
Up-to-Date Anne 
White Shawl 
Fleeing Flyer 
From Punkin' Ridge 
Handy Solomon 
Hoosier School 
Kiss in the Dark 
Larry 
Love Birds' Matrimonial 

Agency 
Married Lovers 
Ma's New Boarders 
Mrs. Forester's Crusade 
New Pastor 
Relations 

Standing Room Only 
Stormy Night 
Surprises 
Tangles 

Little Rogue Next Door 
'Till Three P. M, 
Train to Mauro 
When Women Rule 
Won by a Kodak 
April Fools 
Fun in a Schoolroom 
Little Red Mare 
Manager's Trials 
Medica 

Mischievous Bob 
Cheerful Companion 
Dolly's Double 
Drifted Apart 
Gentle Touch 
John's Emmy 
Point of View 
Professor's Truant Glove 
Belles of Blackville 
Sweet Family 
Conspirators 
A Day and a Night 
Gertrude Mason, M.D. 
In Other People's Shoes 
Maidens All Forlorn 
Mary Ann 
Romance of Phyllis 
Fuss vs. Feathers 
Tanglefoot vs. Peruna 
Great Libel Case 



Farce 
Comedy 
(27c.) Drama 
Comedy 



(27c.) 



Farce 



Comedy 
Farce 



Drama 
Farce 



Comedy 
Farce 

Sketch 

Farce 

Comedy 

Farce 



Comedy 
Farce 



Comedy 
Dialogue 



Minstrel 

Entertainment 

Comedy 

Farce 
Comedy 



Mock Trial 



6 

7 
3 
4 
4 
4 
4 
3 
4 

3 
3 
3 
3 
3 
2 
5 
3 
4 

4 

4 

4 

2 

2 

1 

1 

1 

3 

2 

3 

1 

1 

4 

3 













2 

1 

1 

1 

1 

1 

1 
any no. 

8 
12 
10 

7 

8 

6 

5 

4 

4 
18 





30m 

45m 

30m 

30m 

30m 

20m 

35 m 

40m 

30m 

30m 

40m 

20m 

15m 

15m 

SOm 

30m 

40m 

35m 

45m 

35m 

40m 

25m 

20m 

SOm 

SOm 

20m 

20m 

20m 

2h 

Ih 

40m 

Ih 

SOm 

SOm 

nih 

SOm 

li/4h 

30m 

iy,h 

2h 



2VWiWAnA^AAAflJVWA/VVVVVVVVV\/VVWVUVWVyVWS 



LIBRARY OF CONGRESS 





PLAYS WE RE 

For Schools and 017 400 950 8 

Twenty-five cents (Postage 2 cents extra; 

Acts Males Females Time 



Irish Eden 


Comedy 


3 


8 


6 


2h : 


Kidnapped Freshman 


Farce 


3 


12 


4 


2y4h \ 


Matrimonial TilT 


Farce 


1 


2 


1 


ih : 


Little Savase 


Comedy 


3 


4 


4 


2h , 


Lodg-ers Taken In 


" 


3 


C 


4 


2Vih , 


Miss Mosher of Colorado 


" 


4 


B 


3 


2h ; 


Miss Neptune 


" 


2 


3 


8 


IVih , 


My Uncle from India 


" 


4 


13 


4 


2M!h , 


Never Again 


Farce 


3 


7 


5 


2h 1 


New England Folks 


Drama 


3 


8 


4 


2Vih , 


Next Door 


Comedy 


3 


5 


4 


2h , 


Oak Farm 


Comedy 


3 


7 


4 


2y2h , 


Kiddles 


" 


3 


3 


3 


lV4h , 


Rosebrook Farm 


" 


3 


6 


9 


i-y4h , 


Stubborn Motor Car 


" 


3 


7 


4 


2»/2h ■ 


Too Many Husbands 


Farce 


2 


8 


4 


2h , 


When a Man's Single 


Comedy 


3 


4 


4 


2h ■ 


Where the Lane Turned 


" 




7 


5 


2h 1 


After the Honeymoon 


Farce 




2 


3 


60m I 


Biscuits and Bills 


Comedy 




3 


1 


iVih 1 


Chance at Midnight 


Drama 




2 


1 


25m 1 


Conquest of Helen 


Comedy 




3 


2 


Ih 1 


The Coward 


Drama 




5 - 


2 


30m 1 


Sheriff of Tuckahoe 


Western Sk. 




3 


1 


Ih 1 


Bashful Mr. Bobbs 


Comedy 




4 


7 


2»^h 1 


Whose Widow 


" 




5 


4 


50m I 


Alice's Blighted Profes- 


Sketch 







8 


50m I 


sion 












Regular Girls 


Entertainment 







any no. 


Ih I 


lOO'/o American 


Comedy 







15 


lVL>h ■ 


Parlor Patriots 


*' 







12 


Ih B 


Fads and Fancies 


Sketch 







17 


Ih I 


Mr. Loring's Aunts 


Comedy 







13 


IVih ■ 


My Son Arthur 


" 




2 


8 


%h 1 


Sewing Circle Meets 


Entertainment 







10 


IVih ■ 


Every Senior 


Morality play 







8 


40m ■ 


Bride and Groom 


Farce 




5 


5 


2%h ■ 


Last Chance 


Comedy 




2 


12 


11a : 


Bubbles 


" 




4 


3 


Hurricane Wooing 


" 




4 


3 


li/>h ■ 


Peggy's Predicament 


" 







5 


Vjh ■ 


Found in a Closet 


" 




1 


3 


20m ■ 


Slacker ( ?) for the Cause 


Sketch 




3 


1 


20m ■ 


Baby Scott 


Farce 


3 


5 


4 


2y4h ■ 


Biily's Bungalow 


Comedy 


3 


5 


4 


2h ■ 


College Chums 


" 


3 


9 


3 


2h ■ 


Delegates from Denver 


Farce 


2 


3 


10 


%h ■ 


Football Romance 


Comedy 


4 


9 


4 


!«: 


Held for Postage 


P^arce 


2 


4 


3 


In the Absence of Susan 




3 


4 


6 


IVjh ■ 


Transaction in Stocks 


Comedy 


1 


4 


1 


45m ■ 


Aunt Dinah's Quilting 


Entertainment 


1 


5 


11 


2h ■ 


Party 












Bachelor Maids' Reunion 


" 


1 


2 


any no. 


IVjh ■ 


In the Kerry House 


" 


1 


15 


11 


l%h ■ 
Uih J 


Rustic Minstrel Show 


" 


1 


any no 


any no. 


Ye Village Skcwl of Long 












Ago ^ 


" 


2 


any no. 


any no. 


2h ; 


Rainbow Kimona 


*' 


2 





9 


lV.h ' 


RoRomary 


Comedy 


4 





14 


IVjh ■ 


Pharaoh's Knob 
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12 

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